Advanced Lessons for Horror Storytellers | Henry Gacia | Skillshare

Advanced Lessons for Horror Storytellers

Henry Gacia, Horror Scholar and Wordsmith

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
11 Lessons (39m) View My Notes
    • 1. What this class is about?

      0:52
    • 2. Why do we LOVE Horror?

      3:46
    • 3. The Elements of Horror

      8:42
    • 4. Where to get ideas from?

      5:10
    • 5. Quick storytelling tips

      6:36
    • 6. Quick word: Using your Fears

      1:21
    • 7. Settings and Situations

      2:17
    • 8. A Deeper Exploration on Character

      5:05
    • 9. Quick word: Perspective and the right words.

      2:16
    • 10. How to keep learning

      2:39
    • 11. Thanks and closing

      0:27

About This Class

Starting is hard, but to keep going you have to go further. This is a class for those who already started but want to step up into their better game. No matter for what media you write, if you are interested in Horror, you'll find something here that will help you grow and improve. 

af5db352

This is mostly a reference course and you can watch the video classes on any order you want or just watch those who you are interested in, however you may find there's a thing or two you didn't know you needed to learn if you watch it all. 

If you are just starting and want to review some basics, don't forget we have a couple of classes on starting to write horror on our page.

d12ca045


My name is Henry Gacia. Welcome to Horror Academy.

Transcripts

1. What this class is about?: So you started writing over and you're finally ready to take things up a notch, right? Well, the 19 disclose it for you. We will explore or, in a much deeper way finding out what works and why. A nice in the core elements of poorer for any type of media, as well as reviewing writing basics with a deep focus on your own on the writing. Now this classes. For those who want a reference course, each section is on its own, and you don't have to watch every single media. So some themes or tips maybe lobby doing one video in the next. Where would it if it does, it's usually in the context of the video itself and not so much repeated content. The break for this class is just to write and write some more. I want to see a few good stories that have intention, good character arcs, dialogue and just too good or oh, my name is Henry Gosha. See you in the first lecture and welcome two over What kind of mean 2. Why do we LOVE Horror?: it's a whole writer. Do you know what part that Jerry is? The one that pulled you in or a fishing is very personal, and sometimes there is no easy way to explain it on, and that's okay. But no, you Why you started doesn't mean you cannot explore why others, right on finally enjoy or the very first reaction for most of us is that it's really familiar. We grew up reading or listening to scary stories and comics, watching horror films or playing over the games on all of these from very early on, or then becomes a cold to go home for some of us. Ah, way to remember reading a horror comic book at night and there are covers. I would just flashlight while outside was raining and her parents were a slip. The very same feeling is the worn some readers want to have when exploring new or fiction. It's the reason why some of the most popular Stephen King or um novels explore these feelings off comfort on or at the same time. It tells us about some of her warmest memories, a time in which we didn't question the fear we had after watching in horror movie. We just experience it on, Let our imaginations fly. But then we have to get serious because writing and experiencing or affection can help us face or biggest fears in a safe issue. A. Those things that you don't really want to talk about, the things that keep you awake and night, the things that made you flinch or just feel deeply disturbed. You can put that coat of good writing on them and send them to the world beat to feel better about them or to simply make others suffer for them as much as you already do in a way that seem to have a very therapeutic effect on most writers, that we play with a world that is entirely off around creation and we can explore their anything that we fear exploring in the outside world. And then we have those that want to send a message on this coming to Maine variations. Those who want warm people for danger out there beat a literal danger or a philosophical or moral danger on those who want to give people a feeling of hope when they tell us that no matter how dark it gets can usually get a mostly positive life if we just push through or a fiction. Also, let us extraordinary known those things you don't really understand. Jim experience them. Us already tried to run right. The feeling of living, any type of danger we can imagine, even if it's not particular scare for us. But it will be life threatening to live in any other way is right there, other fingertips. But we can also experience other cultures, including Elian ones or their abuse of reality or their thoughts different from those four usually normal lives or affection is a great way to expand their minds on live better outside of it. And finally, we have those who just want to have fun, the biological reaction we get when reading or watching or playing something over related just associated with a fear you feel when you do something exciting, like bungee jumping, it sends an adrenaline shot to our bodies that make us feel invigorated. If only we can remember to turn on the lights afterwards. Of course, always keep what you write or oh, very close to your heart and mind, but also why others right and enjoy or altogether knowing and understanding. What's the big pool of or for so many others may hold? The key is to keep your audience fooling interested in your own work. So explore edged reason. Experience it, ask others. Andi, keep trying. 3. The Elements of Horror: each or Arrieta has their own set of rules as to what makes a good or story is usually come from their own experience and ideas regarding the over there, right on live on how they write it and live it. This is my own Take off the elements needed for any good over a story, but these are not rules set on stun, and they are very much personal to me. However, if you have not yet developed your own or you wish to refresh them a bit, tomatoes days as a base to do so or for inspiration bid in the story in a Marjorie or even in the tread, bigness creates discomfort and with the right setting quakes fear. If flickering light in the right circumstances can be the scariest thing out there. Despite being a very common thing in itself, it makes things seem wrong, unknown and just plain disturbing. No matter what the Russian on my intelligence, it can make you at least hesitate for a second doubt about what you think you know about the place you are in hands about reality. Bigness is often overlooked in most recent or fiction, particularly in films but in a way we can't blame them being and staying bay. It's not easy if you are able to. Soon the story is done. If you're a bill to march, the stories done. But if you don't really enough, the audience may be done. Exposition is your enemy and rabbi, and this may be arrived from story to story. Not every horror story has to be like a predatory or it follows. Materialist need to know when to reveal and how much, sometimes living dalliance with more questions than answers. But it's better than explaining all. However. The danger of this is when you create a senseless or pointless story that shows nothing in hopes, nothing is ever explained. This is a no no situation, either, because it won't leave you the audience with more questions. It will leave them with nothing. Something big doesn't necessarily have to be something confusing, pointless nor incomplete. Leave the characters power. This is a communal bias, and usually by making something bay, you in a way can remove some of the characters or readers power by removing knowledge uncertainty to make him weaker on. This is an amazing way to do so. But there is another way. Everything back at what Lovecraft it. We realized the opposite is also true in his stories. The more you know, the less you're able to do. Lovecraft excelled at creating such huge and Germany's that every hope, goal or aspiration his characters hat waas reduced to nothing. They were rendered totally pointless because no matter how much they tried, their only hope against the monsters left front road waas to merely survive. Hopefully, with some sanity is still intact. Winning was not even an option. This was the ultimate waiter, more power, letting their characters know that they were not the protagonist. They were not important. They weren just mindlessly trying to survive even before knowing this was the case. The best or fiction removes all the power the characters and those aliens have to win in one way or another. For instance, at the end of the Texas Chainsaw Massacre, it's Sally escaped, but she didn't win. We promise you that even decades after escaping, Sally was going to be having nightmares waking up in the middle of the night, covered in coach said, wondering what if? But let with everything. There is a danger when you're seeing powerlessness in a story, and it is to let everyone involved no from too early that they can't win, rendering everything that happens next, completely pointless. If you know you can't win from the start, there is usually no point in going through it. Even in those cases in which a situation is too big to even comprehend, some hope must remain, if only to be crushed at the end. Of course, in 1973 over moment, we're about to see a huge leap forward with The Exorcist, hands down one of the creepiest movies off all times. But that's not why I want to talk about it. The movie said itself as something else. It was deeply unsettling. It made you feel uncomfortable in many ways, disturbed even the many breaking taboos sense and how graphic it wasa about it, as well as how it settles missed innocents. Abilities out there helped it to burn itself in the minds of the audience that already waas feeling the movie to be extremely Kirby and disturbing. Of course, breaking taboos in shocking scenes is not the only way. That's just one, probably the cheapest for today's standards, but they missed your work. The point is that you have to deeply disturbed the audience in one way or another bid in a social way or in a more visceral way or even a psychological way. Just don't let them go unscathed. Recently, I found there are many over games out there that are completely free and seriously, you should check them out. The most common of these games is the one that is just completely strange, however, on despite some of them being truly creepy, they go old really quickly. The things that made you feel in the sea and beginning become due in no time, and the whole thing's is suddenly boring on. It's sad because some of my curious some ideas were really good in these games, but they did make the mark bacon just one element. If the story starts, weird continues weird and finishes were there is nothing to contrasted against. How can you be on such a thing if they tell you is normal from the start? Andi, as something that is not actually happening to you, just accept it like you will accept the absolute nature of our books money, cartoon on dues are no longer affected by its weirdness nor bias. Creepy imaginary, no matter how proprieties contrast is needed, at the very least in the reactions of the characters they must feel or a list appear to feel worded out, crypt out or scared, just like any of us will feel in a similar situation. And this contrast must be, in a way constant. If you're over exposed people to something, they'll get used to it really quickly. This is why the most effective or stories in film stunt overuse, jump scares, loud noises or even creepy or bloody scenes. The more years of this, the less impactful they'll be at the end. The less contrast there is between one scary scene and another. The more normal day. Look on eventually, everything you've worked so hard to achieve with the story becomes nothing. There is one last thing we need to take into consideration the audience. Nothing scares me is perhaps one of the most common mantras used even amongst over fans these days. On being a scared by something has become some sort of brides. Watch toe work, Andi, In my opinion, it's running, or if not for everyone for themselves. At least it's not that nothing scares them on. It's not that nothing is scary. It's just that they have forgotten or never learned how to let themselves lose in horror story. All we experience in these stories is, of course, harmless to the audience. No need to overstate the fact not being scared of a fictional situation in media is nothing to be broad. If anything is something to be sad for. Most people remember they or Children's movies or stories that some off the best on while in most cases they were better than newer ones, it most often than not. What's just institution in which these people were a lot more open to let themselves lose in those stories, not judging them, not wanting to get ending's just enjoying them and feeling scared and loving them for it. So something must be done to keep the suspension. It believe consistent blood holes must be appointed on techniques to keep the river in bulk mostly used one possible so chest creating a mystery or using properly anticipation and character creation to refract to the reader. Sometimes it's not about thing, either, to tell them from the start beat us. Part of the story or us is more note before starting the story to let go of the prejudice or desire to be wants to behead on, to just enjoy the ride to turn of the lights on a route when you're along may actually work wonders. India's recalling. I know it works for me. 4. Where to get ideas from?: in the past class. I say that whenever you're starting room right, you should not be afraid to right which ever subject or theme you want to write, even if they are delicious. That's what your muse is telling you to ride at the moment. So they have a room on the place. And even after you are really started writing and looking at Lee shares for inspiration, guidance or even to do the opposite, it's always good and informative. After all, you have to be aware of the general off the tropes they were used on under used ones. Explore them, mix them on, play with them. All that saying There's are some of the things that you may want to avoid steel on as you are doing your first stories, or do you have a true or you know or interesting spin on them? Stephen King's say that if you don't have the time to read, then you don't have the time. No, the tools to write. So read on, read a lot, read a lot of four books and stories, both old and new classic on underrated, but also read other generous and even literary fiction. A nonfiction or can hide his beautiful, distorted face in the most mundane and in the most epic off stories, Let's do an exercise. Okay, grew up two or three books you like. Our have bread, or at least no off on down are not or rate them and now try to inject over into them. It could be a subtle, like a couple of scenes that create tension where otherwise were none. Or you can come a full own over story or no bill experiment, doing a now outline off said new or a story and posted under product down below. But of course, books are not the only place to get those ideas from Explore on. Consume everything on Ellison on Try to find the oral tropes or ideas that are unique to each media, films and comics, place and video games. If one of them has their own spin on the over, generate their own classics and their own failures, ask yourself what made them classics, especially if you're writing for other media other than the real informant. But even if you're creating a noble of short story, every piece of media, we consume Kanhai inside, I whole road just with him for you to find it and use it or among a writer and artist, Genji Ito said. Ones that the way he comes up with this stories that he drives on rights is that he takes are rather Monday in part of live and tries to say it backwards. Which brings a load off what if scenarios that great, truly shocking pieces such as What if humans were to grow us trees layer by layer, or what the spiral the abstract geometrical shape were to take over a small town? What if there was a monster living amongst us like one of us? It does. Work is best told in small chunks and short stories that do not require a lot of explanation. If you were to see that the tree outside your window looks like a face, it will be less scary if you were to explain it as a monster or vampire or something that was watching you on top of the tree that if you were to say that it tree is actually growing faces on all of them approached her window at night while no one else is looking and they just stare. I do now, of course, always go deep, right? What scares you? Not what scared Lovecraft or any other altered you enjoy or admire, but just what scarce old do what kept you awake at night when you were a child? What keeps you awake this nights? Try to go your common metal spheres and twist and merge them with the first you had as a child. You are all the more common fears. What comes from it if it scares you. If it truly scares you, chances are that it will scare someone else. Horror is constantly evolving on. In one of the latest situation, something known Ask Ruby. Pastors came out off the Internet. These are rather short stories that use the fact that you don't know if what you are reading on the Internet, whether people tell you their stories are real or not, This Kwasi believable tales the world honorific are told in anecdotal manner on day kind Off are a mirror off the funk. Traditional reflects Wisley today, but for the Internet, with fine stories of people having the worst nights of their life or that are being hunted in real time with the stories of people remembering the same thing that can happen or multiple science of the same word. Event all to the schedule ends of the Internet anecdotal story. There is much to learn from the Creepypasta community and then maybe bring up a special class on the subject. If you wish me to do so when a few places where you can start your research and read, a few creepypasta for your own are to be busted that come and could be busted or links below. 5. Quick storytelling tips: Here are a few tips for planning and storytelling for or in general on I believe, the first thing to be aware of when writing a horror pieces to actually know the generator . Gender is, well, annoying, sometimes harder to give the audience sensors and expectation about the media, and they are buying. Certain readers enjoy certain tropes more than other. So you really must be a war of the tropes of the carriage of book is gonna be put into whether you wanted there or not. That's a different story. You must know your publisher has to market it some way or another, right? Don't try to go too far from such expectations. Just just look at the disaster that certain films, such as it Comes at night, got into for not feeling enough into the category it was marketed in. This, of course, doesn't mean you should ride the same way your over us everyone's Els. It only means to know what your readers like and why, and just give it to them. And in that regard, be careful to not let themes, meanings or even meaningless cares destructive from telling a good story. The reader is there to be entertained, interested and scared. If you focus too much on that monolithic, expressing an idea or too much on way too many scary scenes, you will lose the reader. He will deflate the tension and make it boring, unpredictable. So you're right with them in mind, which I strongly suggest, you shall not keep in mind that story characters on world are fierst. Remember that the blood may be entirely personal in the sense that no huge situation should be happening in order to make things interesting or or if IQ no need to drove the end of the world or big scary demons or complex epic Uranus for every character. In order to make a good book, you can but no need for it. Everything, both in short stories and the novels can happen in very reduced spaces and in very reduced time frames gave yourself permission to slow down, particulary do it for the atmosphere. The sitting in the road stories tends to be of huge importance, so slow down to explain the view them temperature, the smells and, more importantly, your characters reactions to it. Since your characters are the bridge between the audience on the world and situations off such world. Keep the reaction for saying on off anything else that is important. A special place on atmosphere is so important, especially because you should try keeping the over a mystery, especially if it's supernatural, especially if it's new. Explaining can kill the mystery, then the suspense, then the or itself as such, Don't show it. Don't explain it most of the time. Don't even describe it. Rather let the reader feel it. Let them see the affected house on the characters or on the world. Let them feel the tread it represents rather than how it loose. Your biggest weapon is your readers own imagination, so use it. Use all the senses when this driving an horrific situation in both sound smell. Doetsch site. Uneven taste. I personally still remember what the smell off eat waas When he turned into the black Lego monster, Do you make sure each scene is important that it'll Bunches? Plot develops, Character provides setting or delivers over, but not in a separate way. Either the whole book must be connected and feel and feel connected. The first line, or rather, the first paragraphs, are off almost importance find a way for the onions to be instantly hooked. No unpracticed. What is to start in media's rest off in the middle of an action? And keep in mind that most first lines falling to the dramatic day philosophical that surprising or the poetic on? Make sure to your suspense to offer Chicago say that there is a distinct difference between suspense and surprise and get many pictures continually confused. The two I quote. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table. Between knows, nothing happens. And then all of the sudden boom there is an explosion, the public surprised. But prior to the surprise, it has seen an absolutely ordinary sin off. No special consequences. Now, little steak suspense situation. The bomb is underneath the table, and the public knows it, probably because they have seen the anarchist place in there. The public is a word. The bomb is going to explode at one oclock, and there is a clock into the core. The public can say that this quarter to one in these conditions, the same intercourse conversation becomes fascinating because the public is participating in the scene. The audience is long in tow. Warren, the characters on the screen, the first gauge. We have given the public 15 seconds of surprise at the moment of the explosion. In the second we have providing them with 15 minutes off suspense. The conclusion is that whenever possible, the public must be informed, except when the surprises a twist that is, when unexpected ending is in itself. The highlight of the story. Remember to write out of currency not only of what you know right, about the things you wish to experience or experiment about the pleasures you would like to visit more often, or about the type of person you are interested in. If you're caressing Israel, orders may have it as well. And if you get stuck like truly stuck, so your character seem to other chaos and try to see them get out of it. This may sound chip, but it's effective. It creates a spike off interested in the story, as a lot of interesting things can happen next. If you do not want to write this into your story, that's okay to do. You can do exercise where you're wonder any what if no matter how crazy or out of place on , imagine your characters dealing with it all in the name of not being stuck anymore, of course. 6. Quick word: Using your Fears: when it comes to coming up with more ideas on writing them properly. Nothing beats knowing what you're talking about. And since this is a always story, nothing bits Talking about what you personally fear on your spice it up with some marginal fears. Well, should be told that if you fear it, others will fear it as well. And in disregard. We can have the very personal fears those that affect us, an individual like losing those you love on. Buried General wants those who affect humanity as a whole, like the immensity of space, but or has never to be in just one particular way. And it may be present in a personal struggle while affecting very objective world situations. Has to put a cluster for person buried alive or in some underground catacombs, or like the person that is haunted by the ghost of people he feels guilty of losing or the opposite. You can make the objective world amazing over into a personal situation like, What would you do if you found out that the most of that's been outside killing people is now in your kid's bedroom, and instead of screaming or noises, it's old quiet. So regardless of what you write over, always full right to what scares you the most and trust me, they are real right will be effective as it comes from a place of true fear. 7. Settings and Situations: If you can convince people that what you're writing Israel, then you have won half the battle. So while you are more than able to, the stories are completely out of your own imagination, sprinkling them with things you know, the pictures you bean on situations you have actually experienced. Then things will come up with something a lot more believable. This doesn't mean to tell your partner my experiences. Also, you can if you have any, but rather to show your characters in places that you are very familiar with doing things that are familiar to you, having lives that are familiar to you and expand from them into things that are better suited for your noble or story, but always try to start at the very least, with a feeling off route. The characters and situations affect this sitting and sitting effect, but the story on the characters send us true and experience that is meaningful to award you created or where the setting is meaningful to the characters you thought off, which is one of the reasons why haunted houses or a science are no goal. Right now, we have seen everything those settings can do to the characters and the other way around. So if you already have a blood and a set of characters, try putting them into a different saying a different location in a different time, or even a different world on. Try to see how the new selling changes or affect the characters and the plot. What go be in isolation, of course, tried to see what other things a new interesting saying can do to the characters and to the story. Like, for example, what if your haunted house story was set to happen in a spaceship in the future? A special that is actually a theme bark. And don't forget that settings can be as important as characters changing living, breathing. They can make a promise or a threat. They can provide comfort or can literally be living hell. Give importance to them. But do not be afraid to change and stop and mix them. It may be that the story, your work writing it's actually better in a completely different setting, one that will take care of your story and of your characters better on, perhaps even eat them alive, better 8. A Deeper Exploration on Character: characters are the core of this story. They are the bridge between the audience. Andi, over. You have prepare for them, especially in longer works for short stories, situations, places or the or itself can take the front line sometimes. But in anything larger character is where exact on, often enough is married that most beginning writers neglect or just the wrong? There's about the people you know. This is basic on. Most writers do or have done this at one point of their careers, since character creations can be downtown. Why not start with a template that your characters and the people you've met use their phrases the way they look and act where your dressing and so on? You can, of course, use people, do them personally. No, such as actors and what not. But keep in mind that when using an actor that he may be playing character already. Since you don't know them personally, general know most of the little things that their closest friends do. So the closer the person, the more you know about them on the better material. For a character it can be. Don't try to make your characters be your you know, but rather make them radio because on them, on being Israel they can be, and that will make them unique on interesting off their. You know, when people try to be interesting, they are not. It's only when they are real and honest about what they like, what they dislike, what they're curious about, what they know and what I don't know when they become actual interesting people on the same things applies to characters. You try to make them cool or interesting. Chances are they will see must try hard, give them flow of schools, expressions, fears and passions, give them prejudices and a chance to grow and learn. This applies to any character, regardless off literary general, but in normal related stuff, make them also scared, make them suffer realistically, make their fears relatable. And you have some winning characters on your hands Now do you know that we have to care about your characters? I'm for we to care. Do you need to care in an honest way, So spend time with your characters, get to know them, talk to them, ask what they will do in a different situation and why ask yourself, what will they say about you about how you're writing them, literally chat with them in a document where you write herself on them in a certain situation and talk with each other. Let him tell you their dreams and hopes and pay attention. The others doesn't need to know every single thing about your characters. But in order to write them properly, you do ask yourself on your characters these questions in order to create a proper, more fleshed out character. But they remember on why, why was that important in their lives? What do they think of themselves? Why they think they will do in certain situations? And is it true, if not, why? They seem to think it is what others think of them on. Are they aware of it? What do they believe? Others think of them what they think they are, what identities symbol they relate to, such as nationality, career, religion or any defining moment with a high from the world. While are those things they hide from themselves? What are they proud off? When are they ashamed off? What do they regret? Already flows real proceed by themselves or others where their dreams and goals that are not related to the plot on which ones? My debate. The plug. Which one's complicated or which ones tried to push it aside completely. But don't stop there. You can use our perceptions of stagings, whether you're writing in first or their person. Jake. Unusual characters. Perceptions of the filter for the setting, your audience, maybe of reading only of what your character is pursuing. A feeling about any given situation or place. A simply empty street can become the most scary place there is. If your character feels it that way, your character is seeing everything us, off or off. Feel free to describe it to your audience in that way. Whatever they are feeling, your audience may fill it as well, so don't waste the chance to use it when possible. On user focuses narrative. Whatever they pay attention to its what becomes important in this story, they are in the horrid. You can make the storytelling fast pace if they're trying to relax, slow down and smell the roses. If they're feeling failure, slow down. Even more describe how the most style and the drop of showed that feels like a finger on their bags. How the hair rises, how they are sure that something is just behind them. 9. Quick word: Perspective and the right words.: each stories exulted by language you use on how you use it. So was try using words and phrases that are relatable to the characters and situations you are dealing with and be aware of the fact certain words and phrases having people work, such as coffin burnt or suffocation. I really carry a negative on even blooming connotation for some, so use them with care on used them to enhance the effect of your writing. Keep in mind which kind of wars will the doctor use compared to a homeless character and even a former doctor now homeless character. But at the same time, don't forget to use your own boys your own style. The story is told. Not true plot or catchphrases, but with your own boys on, just like in songs. The boy. Sometimes it is as important as what is being told on in that regard. You have another recent just third or first person carefully for both. It is important to have a deep knowledge of your characters, but first person demands much, much more. The worst on way off the rating has to be quite unique for the characters themselves, so it tends to be a bit harder. Hand through person allows aerial view avnish int, But even then, the words must be chosen carefully as to help develop the settings over the characters we are looking at. It also serves to point out the things that characters done to no coincidences or themes on so on. But be careful with it as it can become overwhelming. If you have too many point abuse, too many characters or data on the reader may get lost too soon. So make sure each point of view has a very distinctive style. And it clear unmarked change when you're such between them. So try to not hand hope like jump from one point of view to another on the same chapter or section, for this can be confusing and quite a mess. Instead, change point abuse when you changed the chapter, or at the very least, when you change sections in a chapter on, Always try to remember to stick to just one point view as long as you are on one particular section over one particular chapter 10. How to keep learning: as you progress. It's a writer. You will quickly realized there's always more to learn ways to refine your craft and new ways to get ideas and concepts. These are a few tips, and not just on that direction made you find them useful every time you got a new book. Don't just read it. Instead, analyze it. Wonder why the writer took each choice. Why did they choose each phrase, particularly in moments that are hard to ride, such as writing overs or fear scenes on in general? Pay attention to conflict to beginnings and climaxes deep, analyzed dialogue and try to figure out how the characters are developing in each scene, as well as how they are advancing blood or conveying information. Ask yourself. Given the same sad story, what would you have done differently where your focus will have lighting on? Pay attention to the parts that make you feel the most emotions, including boredom, but also wonder what would you do with the same basic concept? Where would you take it and why? Remember that one idea can work in many different ways. On, of course, at first this may seem artificial, paying that much attention to reading. It's not natural, right, even for those riders. But keep in mind that every book written by a great outer is like having a master glass own that way of writing. Remember that not all writing is done for nobles and short stories. There's writing everywhere, even India slash you are taking. So don't limit yourself just to the real world. Watch films both in general and around and see how they are different and get similar to the stories we look to read in. Making the film is just a collaborative book where a few others have done each their thing to create something that you can see here on experience in a very different way than a book . Think about each of their choices, analyze dialogue and see how it differs from the dialogue in books, on the one in re alive and so on. Movies, just like books, are endless sea off ideas and information. But again, it doesn't stop with movies, comic books, video games, TV series, the older things differently. They'll do Dalek action, beginnings and storytelling different. The L used each element of four or in a different way, and some are better sit for some things that others. So yes, right, right as much as you can, but those who read and watch and play as much as you can. Ideas come from everywhere on their our master classes on each subject all around. We'll need to just pay attention on keep learning. 11. Thanks and closing: writing is not easy, but if you are watching these, you probably already know that. Don't give up. Keep learning right as much as you can and then some more. Andi, thank you so much for giving me a part of your time on this last on writing. Or if you have any questions or suggestions on what should I cover next? You can always contact maybe a comments here or the Emmy on my instagram. Don't forget to put your product stories see on the next one on dog dreams.